text:
Boehner plans lawsuit against Obama over executive orders
Updated 3:15 p.m. ET, 6/25/14
Washington (CNN) - House Speaker John Boehner Wednesday told reporters that he plans to sue President Barack Obama over his use of executive action.
"I am," the Speaker said when asked if he was planning to initiate a lawsuit.
"You know the constitution makes it clear that the president's job is to faithfully execute the laws and in my view the President has not faithfully executed the laws," Boehner added at a news conference on Capitol Hill.
[twitter-follow screen_name='politicalticker'][twitter-follow screen_name='deirdrewalshcnn']
Boehner announced later Wednesday that in July he would bring a bill to the House floor authorizing a Bipartisan Legal Advisory Group to file the lawsuit against the President. He last convened the group in 2011 when the White House said it would no longer defend the anti same-sex marriage law, the Defense of Marriage Act.
The group is made up of the top three House GOP leaders and the top two Democratic leaders.
In a memo to House members announcing next month's vote, Boehner indicated the legal action would cover a number of issues but did not cite specific cases of executive overreach.
"On matters ranging from health care and energy to foreign policy and education, President Obama has repeatedly run an end-around on the American people and their elected legislators, straining the boundaries of the solemn oath he took on Inauguration Day,' the memo said.
The Speaker denied that the move was about energizing Republicans ahead the midterm elections.
"This is about defending the institution in which we serve. If you look back over the past 235 years of our history there's been movement between the inherent powers of the executive branch vs the inherent powers of the legislative branch and what we've seen clearly over the past 5 years is an effort to erode the power of the legislative branch," the Speaker said in response to a question from CNN.
Republicans argue that the President is breaching his constitutional power by side-stepping the legislative process. Obama has used executive actions as a way to bypass a deeply divided Congress, avoiding inaction on issues the White House has made hallmarks of the President's second term agenda.
So far, the Republican-controlled House has passed two bills aimed at curbing executive orders by the President, neither of which have gone anywhere in the Democratic-controlled Senate.
The White House responded Wednesday to Boehner's plans to bring a lawsuit against the President, pointing the blame at the GOP for uncompromising opposition to Obama's policies.
"For a long time we have seen Republicans block progress in Congress, a range of bills that would promote economic strength but in this case it seems that Republicans have shifted their opposition into a higher gear," spokesman Josh Earnest said at the White House press briefing.
"Frankly, it's a gear I didn't know previously existed.'
House Democratic Leader Nancy Pelosi Wednesday called the lawsuit "a subterfuge" and said Republicans in Congress are "doing nothing" and "they have to give some aura of activity."
Pelosi said the House GOP effort to challenge the Defense of Marriage Act in court wasted $2.3 million in taxpayer money, and said "here we go again."
Obama has used his executive authority to push through a number of issues. Most recently, he directed the Department of Labor to extend family leave to same-sex couples. Previously, he raised the minimum wage for federal contractors and halt deportations for many children in the United States illegally.
Rank and file House Republicans have been pushing for months for top GOP leaders to file a lawsuit.
Conservative Republicans have long complained that the President has overstepped his authority – citing the series of changes that the Obama has made on his own to tweak the implementation of Obamacare.
Congressional Republicans, fueled by anger from their grassroots supporters, also argued it was time to explore legal action when the President began saying in January that he had a "pen and a phone" and would take action on key priorities if Congress failed to move legislation.
One avenue Boehner could take is to convene a Bipartisan Legal Advisory Group - something he did in 2011 when the White House said it would no longer defend the anti same-sex marriage law, the Defense of Marriage Act.
Since there is only a day and a half left before Congress heads out for a week long recess, the lawsuit is not expected to be filed until next month. The lawmakers who make up the group – the top three House GOP leaders and the top two Democratic leaders – will have to meet and vote – and – that isn't expected to happen until after Congress gets back from 4th of July break.
Boehner just so happened to be with the President on Tuesday, along with Vice President Joe Biden, at the White House to meet with members of the 2013 U.S. and International Presidents Cup teams. And the mood didn't seem to be too tense between the House leader and the commander-in-chief, given reports of Boehner's possible lawsuit.
Obama joked: "I'm joined by two of my favorite golf partners, the Vice President of the United States Joe Biden and Speaker of the House John Boehner."
Commissioner Tim Finchem jokingly said that he's been keeping track of who criticizes the President about his golf game, and Boehner was not among his critics.
"The only thing that he doesn't criticize me about," the President added, to laughs.
Pres Obama, VP Biden, & Speaker Boehner walk along WH Colonnade to event in East Room for President's Cup golf teams http://t.co/5zBXo0l1in
— petesouza (@petesouza) June 25, 2014
CNN's Dana Davidsen contributed to this report.
Filed under: House Republicans • John Boehner • President Obama
obama refuses to negotiate. senate democrats refuse to vote on anything. how do you work with people like that? and then obama wants to pick and choose what laws he wants to enforce and which ones he wants to modify on a whim (ie. obamacare). it makes working with him impossible because he simpy cannot be trusted, as we have all found out the hard way when it came to keeping our doctors, hospitals and health plans.
You blaming Obamacare is a COP OUT, your just as bad as the corporations that blame Obamacare for dropping employee's insurance. It's a cop out, period. Is it perfect, absolutely not, but the last time I checked, there is hardly ANYTHING THAT COMES OUT OF WASHINGTON that works 100% the way it is intended, no matter what party is sponsoring the bill. Greedy politicians that continue to use this line over and over... "I'm fighting for what the American people want." make me sick! Until the Supreme Court reverses it's ruling on big business sponsoring government officials for re-election, and there are some restrictions put in place on the amount of money spent on lobbyist, NOTHING WILL CHANGE.
This is 100% the problem with the "people' of this country! There is no middle-ground, it's the republicans fault or the democrats fault; they are NEVER both at fault! People are naive and lack the incompetence to think for themselves. Everyone thinks they have the right answer, or the other party is wrong, or it's the other ones not working together. It's all finger pointing!
It's no wonder our Government has accomplished the least amount of work in our country over the last 12-14 years, and there are ZERO signs of it changing. WHY?! Because people continue to be uneducated about what and who they vote for in elections. Come on people, start educating yourselves BEFORE you vote; and if you don't know what your voting for, DON'T VOTE!
June 25, 2014 11:40 am at 11:40 am |
President Obama has issued fewer Executive Orders than any of his predecessors in the last thirty or forty years. There would probably be fewer if he hadn't been forced to deal with a blatantly obstructionist GOP in the House (for some reason, the electorate seems to enjoy a dyslexic government and keeps handing one of the houses of Congress to the political party not in the White House...).
*supposed to say *It is NOT perfect* in the first paragraph.....
Belseth
Where was Boehner's outrage when Bush Jr was using executive orders left and right?
JTWrenn
"If Boehner does decide to bring a lawsuit against the President, one avenue he could take is to convene a Bipartisan Legal Advisory Group made up of House Republicans"
Am I the only one that thinks this sentence makes no sense? Bi partisan group of Republicans.....?
denverboy
What we have here is a the Squeaker Of The House who cannot even bring issues to the house floor out of fear of the Tea Party and Right wing nutsjobs in the GOP who will just shoot them down . The Lower House is a Non Functioning entity within our Government .. It's the DO NOTHING Congress .. SO Obama has no partner in governing this Nation . He was elected as well and acts ..Congress does nothing all the time day in and day out for the last 6.5 years ... They were shell shocked by a tanked economy and two wars and some real bad decision making by there Star Child GWB ...so now the GOP is about damage control they so it's just NO to everything and refuse to work on any issues except perhaps Benghazi and the IRS thing and the VA ... But as far as governing our Nation goes the day to day stuff that needs votes and debate Our Reps our OUT TO LUNCH ....SO the House Squeaker is going to sue Obama .. Why ? Because he's doing his job ? It makes the GOP look Bad it makes the Tea Party look worse ... Go ahead Squeaker it just makes you look vindictive and small but we all know that about you anyway ..
Raoul Duke, Doctor of Journalism
"Our first elected dictator must go." Gosh, what a bunch of excitable loonies you've become. "Sore loser" doesn't even begin to describe it. If we hadn't just gone through having Bush and Cheney stomp all over our freedoms without even a feeble protest from you teabags, it wouldn't be so ironically funny. Seriously, Gramps, the CIA Director got the Supreme Court to appoint his son President over the man who won the most votes, and you cheered! They stopped people from voting in Florida and you were happy! Now Obama pretty much does it by the book and you hate him. Easy to see what's in your little minds.
"redistribute our wealth, and Obamacare is doing just that" Actually having insurance helps you hang on to your wealth by not losing your house and savings, but don't try to figure that out. Just repeat what you were told.
russellmuscle1
It's pretty easy to go along with these executive orders when you enjoy the outcome. However, when you are on the other end of these decisions, one of the people who could be negatively affected, your outlook changes quite a bit. All I will say is that even if you agree with Obama completely and feel that all of his decisions will ultimately be best for this country regardless of the obvious issues or clear reasons for opposition; he is setting a dangerous precedent. What that means is that Obama will not always be president, and regardless of what CNN or anyone else says about demographics......the Democrats will NOT always hold the power in Washington. You never know who the "sore losers" will be in 10 years. So, unless you have absolutely no ability to think past the moment, you must understand the implications of this. You will find yourself on the wrong side of a leader who uses his pen and his phone.
Republicans have no shame – I really can't believe so many people actually vote that column. Self centered mentality is going ruin this country.
RandyF
Can we sue Congress members for malfeasance ?
Self centered mentality is going ruin this country. Republicans have no shame – I really can't believe so many people actually vote that column.
Boehner, McConnell, etc. are the reasons Obama has to use executive orders. The GOP should be sued for accepting their paychecks over the last years for chasing Obama instead of doing their jobs.
This post is a bit buggy.
Regressive
@russelmuscle:exactly!!!!these guys had no problem with hundreds of executive orders by Bush. Let's see how they feel next time a Republican is in the White House and there is obstructionism and filibusters coming from the left.
Theotherguy you are 100% wrong just like your party which is dissolving into nothingness. This country is doing well in nearly every respect especially where I live. Housing is up everywhere, surplus in April, unemployment down, jobs up, wages up.
You my friend are wrong and if you somehow live in a place where you feel the US government isn't working stop listening to Fox, stop lying and wake up and smell the roses. Obama will go down as one of our greatest Presidents ever and he has accomplished nearly everything in spite of no support from the traitors in the GOP. I'll agree, the GOP part of our government isn't working so of course our wonderful President goes around them, thank goodness! Oh, by the way your idiotic Keystone pipeline is already dead, dead as a doornail and thank goodness again Obama can do this without the support of you traitors.
Good move. obama seems toi think that he was elected Aytollah and forgets that he is supposed to work for the people. Of course using the words 'work' and 'obama' in the same sentence is a stretch, but... he was hired to enforce the law
please impeach him, I enjoy see repubs loose, just like with slick willy
Tom Bukowski
Sure, that's easier than doing your job, right John?
TheThinker1958
Democrats were suppose to reform the filibuster rules so a simple majority can decide things in the Senate, but they didn't. They keep putting their faith that Republicans will do the right thing one day. Now Obama is forced to use his Executive Authority, just like Bush did, and now he might be sued. Who keeps voting Republican?
June 25, 2014 12:00 pm at 12:00 pm |
ItSoNlYmE
Oh give me a freaking break already Johnboy. How about DOING WHAT THE VOTERS SENT YOU THERE TO DO instead?
Nobody in government is listening to what the American people want. The republicans are as guilty of this as the democrats. If congress would work with the POTUS instead of trying to play political tug of war then executive order wouldn't be needed.
It's all talk for his ignorant voters. You know, the people who sincerely believe it is possible to repeal Obamacare? He will talk and then he will cry and they will end up voting for some tea party punk in his place anyway.
"Republicans in the house have sent a budget every year, and on schedule, to the senate, but Reid throws it in the trash pile " Is that what you actually believe is happening? Are you really old enough to vote? Please don't vote until you educate yourself.
Will House Speaker John Boehner sue Ted Cruz for Plagiarism , " GREEN EGGS AN HAM " ?
"Boehner, McConnell, etc. are the reasons Obama has to use executive orders."
They are also the reason he is a two-term President. The more they obstructed, the more voters turned out for Obama.
"The GOP should be sued for accepting their paychecks over the last years for chasing Obama instead of doing their jobs."
carol baltzell
If Boener and the GOP would do their job then there would be no need for executive orders.
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The Men's Bioceramic Compression Tech Pants (AU8) pant has been engineered for the top performance athlete. This pant has been designed to wick away unwanted moisture, regulate the body's surface temperature, and to provide advanced compression technology to decrease the body's needed recovery time. The Men's Bioceramic Compression Tech Pants (AU8) offers knee protection and a durable design for rigorous training styles and techniques.


I'm giving a talk on Feb 20 at 11-12 at Columbia's engineering school with Fred Lerdahl. We'll be giving pretty much the same talk as the one we did last year at IRCAM. We'll be showing off our GTTMS software and explaining some of the cogno-music-theory algorithms we created.
This entry was written by Rob, posted on February 14, 2009 at 8:23 am, filed under News and tagged gttm, music, talk. Bookmark the permalink. Follow any comments here with the RSS feed for this post. Post a comment or leave a trackback: Trackback URL.


Internships — Lots of people seem to have opinions about internships but very few people I have spoken with have had one. Last summer I had an internship with a local software company, ideacode. Yes, it starts with a lowercase 'i'. While, I only worked part time (20-ish hours/week), as I was also taking courses over the summer, I was exposed to new software, development environments, programming languages, and most importantly real software engineers coding real world applications.
But, it could have just easily not happened. I actually met my mentor, Bishop, by happenstance. I was pulling some hiking gear out of storage for a trip when I saw a mass of programming books on a bookshelf. I could have walked by but I didn't. Instead, I struck up a conversation. After giving my elevator speech and shaking hands I had a business card and a chance. The first thing I did upon returning from my trip was email him my resume and shortly thereafter I had an interview lined up. What is the moral of this story? Never skip an opportunity.
Interviews — There is a lot of thought about how to prepare for and act in an interview. However, after numerous military boards my interview was a nice treat in comparison. I should take a moment to emphasize that by 'treat' I meant enjoyable, not easy. I met Bishop and John, a coding guru, at a local Barnes & Noble. The setting was informal and we were seated at a square table surrounded by a dozen or so other customers who were reading or chatting amongst each other. Perhaps one of them was in an interview as well.
I was well dressed and I thought well prepared. However, the opening salvo of questions Bishop shot my way was not what I expected. He wasn't trying to determine how well I knew my data structures or programming languages (at least not yet) he was trying to get a feel for who I was. He wanted to know if I would 'fit' well with the company. I answered to the best of my ability and tried not to sweat.
He continued with a series of situational questions, asked my thoughts on business organization and best practices, and finished by having me slap together some basic data structures on the table with sticky pads. After all of that they thanked me for my time, we shook hands, and went our separate ways.
A week later I received my first contract offer in the software development field. It felt great. If I could lend any advice from my limited experience it would be this, relax. Start by doing some research on the company you are applying for, review relevant material you think you might be asked about and above all be friendly and honest. Anyone can lie their way into a position but in the end all they will have accomplished is wasting their and their eventual ex-employers time and resources.
Mentors – Bishop was a great one. Clarifying what I mean by 'great' is easy when someone gives you many instances to draw from. First off, Bishop had a way of always asking questions that rode that fine line between what I know and what is too far beyond my ability to learn quickly. By asking these questions, the right questions, my knowledge in several expanded rapidly. Within a month of work I was zooming around a Linux server remotely, writing test cases in PHP, and creating advanced bash scripts to manipulate hundreds of source files simultaneously.
For the most part, I worked remotely and foresaw communication being a potential issue. But, Bishop quickly put my mind at ease. He continually responded to my emails/IMs quickly and always giving me just enough information to nudge me in the right direction without explicitly giving me an answer. This is exactly what I needed and exactly why I grew so much in such a short amount of time.
But there are two main things I will take away from my work with Bishop and ideacode. First, programming is an art as well as a science and problems should be taken on with compassion as well as deep thought. And finally, it gave me an appreciation for how beautiful complex code repositories can be. Just as whorls of tree trunks tell stories not just about the age of a tree but also climate, forest fires, and floods; peeling back the layers of code tell a story of their own.


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text:
#ifndef XENIA_KERNEL_OBJECTS_XUSER_MODULE_H_
#define XENIA_KERNEL_OBJECTS_XUSER_MODULE_H_

#include <string>

#include "xenia/cpu/export_resolver.h"
#include "xenia/cpu/xex_module.h"
#include "xenia/kernel/objects/xmodule.h"
#include "xenia/kernel/util/xex2_info.h"
#include "xenia/xbox.h"

namespace xe {
namespace kernel {

class XUserModule : public XModule {
 public:
  XUserModule(KernelState* kernel_state, const char* path);
  ~XUserModule() override;

  const xe::cpu::XexModule* xex_module() const {
    return reinterpret_cast<xe::cpu::XexModule*>(processor_module_);
  }
  xe::cpu::XexModule* xex_module() {
    return reinterpret_cast<xe::cpu::XexModule*>(processor_module_);
  }

  const xex2_header* xex_header() const { return xex_module()->xex_header(); }
  uint32_t guest_xex_header() const { return guest_xex_header_; }
  bool dll_module() const { return dll_module_; }

  uint32_t entry_point() const { return entry_point_; }
  uint32_t stack_size() const { return stack_size_; }

  X_STATUS LoadFromFile(std::string path);
  X_STATUS LoadFromMemory(const void* addr, const size_t length);
  X_STATUS Unload();

  uint32_t GetProcAddressByOrdinal(uint16_t ordinal) override;
  uint32_t GetProcAddressByName(const char* name) override;
  X_STATUS GetSection(const char* name, uint32_t* out_section_data,
                      uint32_t* out_section_size) override;

  // Get optional header - FOR HOST USE ONLY!
  X_STATUS GetOptHeader(xe_xex2_header_keys key, void** out_ptr);

  // Get optional header - FOR HOST USE ONLY!
  template <typename T>
  X_STATUS GetOptHeader(xe_xex2_header_keys key, T* out_ptr) {
    return GetOptHeader(key, reinterpret_cast<void**>(out_ptr));
  }

  // Get optional header that can safely be returned to guest code.
  X_STATUS GetOptHeader(xe_xex2_header_keys key,
                        uint32_t* out_header_guest_ptr);
  static X_STATUS GetOptHeader(uint8_t* membase, const xex2_header* header,
                               xe_xex2_header_keys key,
                               uint32_t* out_header_guest_ptr);

  X_STATUS Launch(uint32_t flags);

  void Dump();

 private:
  uint32_t guest_xex_header_;

  bool dll_module_;
  uint32_t entry_point_;
  uint32_t stack_size_;
};

}  // namespace kernel
}  // namespace xe

#endif  // XENIA_KERNEL_OBJECTS_XUSER_MODULE_H_

redpajama_set_name: RedPajamaGithub


text:
Specifications Review Need new Windows laptop or Android tablet for daily use? Check our review, detail specifications and price before buying
Home » Other » Samsung Galaxy Tab S2 Compact 8.0″ Daily Tablet Specs Review
Samsung Galaxy Tab S2 Compact 8.0″ Daily Tablet Specs Review
November 8, 2015	in Other
7-inch tablets are already a thing of the past, as 8-inch models seem to be the most popular right now. Manufacturers are aware of this, so they're adapting, especially after seeing how successful Apple's iPads are. One of the latest tablets with this display size is the excellent Samsung Galaxy Tab S2 8.0, considered by many one of the best Android tablets of the moment.
Under the hood it has an octa-core CPU, with four cores running at 1.9 GHz, while the other four cores are clocked at 1.3 GHz, for less-demanding tasks. The CPU is aided by 3 GB of RAM, allowing us to classify this tablet as high-end.
The storage capacity of the Samsung Galaxy Tab S2 8.0 counts 32 or 64 GB, depending on the model, but a lot of users will need more space, so they can expand it with up to 128 more gigs, using a microSD card.
The display is a Super AMOLED capacitive panel, measuring 8.0 inches, with 16 million colors and resolution of 1536 x 2048 pixels, resulting a relatively high density, of 320 ppi. The colors are crisp and clear, so you can even use this for enjoying clips or movies at a great quality.
For a tablet, the camera setup can also be considered high-end. On the back, it has an 8 MP snapper, with autofocus, able to take photos at a maximum resolution of 3264 x 2448 pixels and shoot 1440p videos @ 30 fps. As for the front-facing camera, it has a 2.1 MP sensor, great for chatting with friends or family (or taking selfies) at a good quality.
Of course, being a high-end tablet, the Samsung Galaxy Tab S2 8.0 comes with premium features, specific to such devices. It has a fingerprint scanner which can be used for unlocking it or even with Samsung Pay, the manufacturer's mobile payments system.
Moving on to the connectivity department, it features 802.11 a/b/g/n/ac Wi-Fi, for quick wireless Web access, a microUSB 2.0 port, for charging and file transfer, and a Bluetooth 4.1 interface, so you can sync the tablet with compatible devices, like smartphones or laptops.
The Li-Ion battery has a capacity of 4000 mAh and it can provide up to 74 hours of music play or other type of content. Finally, the operating system is Android 5.0.2 Lollipop, but it should receive the 6.0 Marshmallow update in the near future.
Design-wise, the Samsung Galaxy Tab S2 8.0 is a very thin and light tablet, measuring 0.22″ in thickness and weighing just 265 or 272 grams, depending if it's a Wi-Fi or LTE version. It's available in white, black and gold.
The price tag of this tablet is $397.99 (for the 32 GB variant). It's far from being a cheap model, but considering the spec sheet and the design, it's definitely worth the investment. A great choice for anybody looking for a powerful tablet, able to run the latest apps with ease.
7-inch tablets are already a thing of the past, as 8-inch models seem to be the most popular right now. Manufacturers are aware of this, so they're adapting, especially after seeing how successful Apple's iPads are. One of the latest tablets with this display size is the excellent Samsung Galaxy Tab S2 8.0, considered by many one of the best Android tablets of the moment. Under the hood it has an octa-core CPU, with four cores running at 1.9 GHz, while the other four cores are clocked at 1.3 GHz, for less-demanding tasks. The CPU is aided by 3 GB of…
Graphics & Display
Samsung Samsung Galaxy Tab S2 8.0	2015-11-08
Tagged with: Samsung Samsung Galaxy Tab S2 8.0
Hi.. Nice to meet you I am only new blogger that has a tablet and other gadget passion. Just trying to gives real value, detail specs and short review for new and upcoming tablet. Feel free to contact me if you have any question or suggestion. You can also contact me in
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redpajama_set_name: RedPajamaCommonCrawl


text:
The (Sort of) Homestretch (Vanessa)
The last five weeks of my life have been amongst the most exhausting of my college career. However, today, the day that episode one of HOUSE will premiere alongside Studio North's two other 2018-2019 projects (which I HIGHLY recommend looking into, as they are both stellar projects) makes me realize that those five weeks are also amongst the most rewarding.
April for film majors (and from what I understand a lot of humanities majors...and other majors...let's just go with everyone) is brutal. If you are on the production track, like I am, you are either (1) helping on someone's set, (2) working on your own set, (3) editing a project, or (4) some combination of the previous three at the same time. In addition to studying for exams, writing papers, preparing for projects, balancing your other commitments, and trying to not completely self-destruct by eating and sleeping. Because I seem to like to make my life difficult, I found myself at 4 quite frequently the past few weeks. My priority, however, has been finishing up episode one (which takes viewers to the Chosen Few DJs Reunion Picnic in Chicago) for the premiere.
It has been a time of self-discovery, technical learning, pure frustration, and pure elation. And if the above words don't accurately describe editing, I don't know what does.
To start, I have learned a great deal about myself in this five-week span: from an ability to go through a whole pack of gum in two days just to give the rest of my body something to do while clicking away in Premiere, to an extreme sense of protectiveness over my project and its subjects, to the realization that to best avoid skipping meals while editing for 6 to 12+ hours at a time, one should always pack a couple of sandwiches just in case. This is all to say editing is physically and mentally draining. You are sitting, staring at a screen for hours at a time. Fun fact: the human body is not designed to sit and stare at a screen for hours at a time. I was confused the first few times I stayed at the JHU-MICA Film Center from noon to midnight as to why I would wake up and my back would tingle, my wrists would ache, and my eyes felt strained. Alas, I am not built for editing. But by day three of long editing sessions, I learned the key is really just having good posture. So I would count that as one of the things I learned as well.
As far as the protectiveness over my project goes, working on it for longer stretches of time gave me a deeper sense of attachment to it. Editing, for HOUSE, is an exercise in telling one story through many voices. I wanted to make those voices shine as best as they could. Which ties into the technical learning that occurred throughout the process of editing for a more intense amount of time than I had before.
When you first offload your footage from a camera after shooting, I think your immediate reaction, as a director, is probably "does it look good" and "does it sound ok". During editing, what looks "good" becomes "how do I make this look even better" and what sounds "ok" becomes "oh my god all the sound levels are different and anyone watching is going to know this IMMEDIATELY after the first cut between interviews." Every time I edit a project, I inevitably end up on a youtube page, internet forum, or at the mercy of my more skilled and knowledgeable film friends to figure out how to do something that ends up being incredibly easy. For the Chicago episode, this manifested in the form of three youtube videos on the "maintain power" audio transition tool in Premiere, several videos on color correction that I ended up learning a great deal from despite ultimately leaving the footage to be shown at the Studio North premiere ungraded (another fun fact: color grading images shrouded in smoke is not a simple task), and at least one forum on maintaining consistent audio levels throughout a video.
Overall, a good, albeit sometimes challenging process of absorbing and applying information, sometimes experiencing the joy in actually following the directions and ending up with a decent product, other times ending in looking up another video. Editing, like any skill, is larely about having the patience to continue learning and applying what you learn to practice. This holds true for the Chicago episode. At times it was incredibly frustrating not knowing how to do something you just KNOW can't be that hard to do. But the excitement in finding a solution, whether in terms of restructuring the sequence of your edits or by having an "ah ha!" moment when you finally DO find a solution is exciting.
Which leads me to the final two words: frustration and elation. One of my closest friends, who actually is pursuing a career as a professional editor and doing a spectacular job of doing so, once told me that with filmmaking, your lows are exceptionally low, but your highs are exceptionally low.
Editing is all about attention to detail. And not getting one detail to be as precise as you want can be incredibly frustrating. Along with the protectiveness over a project mentioned earlier comes the desire to achieve perfection. Which is at times, nearly impossible. But when a solution is found, or someone laughs at a joke you set up, or you finally just get something to WORK, it is immensely satisfying to craft a story out of raw material and see it succeed in its mission.
The Studio North premiere induces a weird mixture of excitement and anxiety for me. On one hand, I get to share this wonderful thing with people. On the other hand, this "thing" that I have been with since before it was even shot will soon be exposed to a world of opinions and grievances. Are people going to judge my work? Are people going to judge me because of my work? The long nights of adjusting audio levels, of trying to time a cut perfectly with a bit of music, of hoping and praying that I can convey how much fun house music is and how truly wonderful its fanbase is will be up to whoever is watching it. And hopefully, though an audience might not see those tiny adjustments and won't necessarily understand the long nights that went into creating, they'll feel the energy, unity, and spirituality that I hope the editing of the Chicago episode can appropriately convey.
We'll just have to see.
Posted at 04:51 AM in About Production, CinemAddicts 2018-19, Growing Pains, Some Aspect of Reality, Turn It Up, Vanessa | Permalink | Comments (0)
Finding and Searching for Inspiration During Post-Production (Vanessa)
At the beginning of 2019 (which was also around the time I started to go through my footage for HOUSE), I was asked to consider two questions. The first: what movies have you enjoyed recently? The second: why did you enjoy them?
A significant amount of work goes into filmmaking of all kinds. From casting, to location scouting, pre-production, scheduling, and everything in between, the process of making a film, no matter the size, is consuming. However, in the midst of all the stress of figuring out the logistics of making and editing a film is the desire to make the darn thing in the first place. The two questions I was asked encouraged me to consider both where my own passion for filmmaking comes from and also what it is about the films of others that inspires me. In essence, I am trying to do more to think not only about where I want to go in terms of the vision of HOUSE but also where my interest in documentary filmmaking comes from.
For this post, I would like to take a step back from talking about editing itself and focus on two documentaries that I have looked to for guidance while editing HOUSE when in need of guidance for how editing works for documentary filmmaking.
The first of these three documentaries is John Heyn and Jeff Krulik's 17-minute short Heavy Metal Parking Lot. Shot in the parking lot of a 1986 Judas Priest concert, Heyn and Krulik interview fans stimulated by raw excitement, a love of heavy metal, and, of course, alcohol and drugs. NPR did a review of Heavy Metal Parking Lot in 2016 during the week of the film's 30th anniversary. It features an interview from Laura Schnitker, an ethnomusicologist (basically someone who studies the intersection of music and culture) and an acting curator at University of Maryland who notes "for anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history…it's just a great snapshot of fandom".
Heavy Metal Parking Lot is striking to me because of how simple it is both in conception and in execution, but also so rich in terms of its honest depiction of a particular group of people simply existing in a particular cultural moment. The interviews are cut together so that different people ultimately end up answering the same questions, but in a way that depicts just how excited the fans are to be there. There are moments that are undeniably hilarious: teenagers screaming out random nonsense and proclaiming their love for Judas Priest, an event worker from the Caribbean who talks about how he's never seen such craziness at home, and plenty of other metal-heads truly just enjoying the moment.
Heavy Metal Parking Lot, to me is an inspiration because it is honest. In the NPR interview, Krulik notes "neither one of us ever set out to do that [make fun of the fans]. I mean, there is manipulation involved: You're editing it, you're getting right to the most entertaining content. And that was our agenda, to make an entertaining 15-minute video". Personally, I think that Heavy Metal Parking Lot lives up to this assertion. Yes, it is funny. But instead of focusing on the fact that, yes, the debauchery of the day makes it so fun to watch, it's goal ultimately proves to be showing just how much fun it is to be a fan. This has been something I've grappled with while editing HOUSE: how do you create an honest depiction of something without necessarily making fun of it?
I look to Heavy Metal Parking Lot for the answer, which is ultimately to select footage the preserves the spirit of community and fun that is central to the house music community. One particular moment that I've enjoyed editing is a series of clips featuring interviewees responding to the prompt "describe house music in a few words". The intrigued responses are just as fun and telling as the overly enthusiastic ones, and lives up to the idea of creating something that is both entertaining, and honest.
The second documentary that has been on my mind a lot and a interesting point of reference for me as an editor has been this year's Oscar winner Free Solo, which chronicles the journey of free solo rock climber Alex Honnold. I'll admit, I was not entirely sure of my own feelings about Free Solo when I first saw it. It's a spectacularly well shot documentary (the landscapes in particular are stunning) but the main point of curiosity for me while watching Free Solo is just how odd it is to explore the world of Alex Honnold. Alex is not passionate about much in his life. Even his girlfriend, who Is featured prominently throughout it, seems annoyed at just how little Alex seems to care about life. His friends constantly remind viewers of how absolutely terrible it feels to be filming something that ultimately could be Alex's death, which is his scaling of Yosemite's El Captain without harnesses or ropes. Alex is borderline unlikable.
However, what is interesting about Free Solo is how it chooses to depict just how deeply Alex loves free soloing. Rock climbing is more than his passion, but truly the crux of his existence. The editing takes care in depicting the complexities of its characters, cleverly juxtaposing images of Alex processing his mission with the beauty of the scenery, which doesn't necessarily make you want to go climbing, but instead communicates the sense of inspiration one can derive from just how incredibly dedicated this man is to his task. Climbing is Alex's life. He is less in love with the mountains as he is a part of them.
For me, Free Solo has been helpful with the process of editing house by encouraging me to think about boundaries. Free Solo is really two stories: Alex's and Jimmy Chin's (the director). Jimmy is a professional climber and mountaineer and at times Free Solo balances Alex's narrative of climbing the mountain without equipment with Jimmy (and his crew's) narrative of climbing the mountain with Alex and with film equipment. It works on two levels, depicting Alex's grappling with undertaking a task that truly might kill him and Jimmy's grappling with what it means to film something that is so blatantly stupid yet so fascinating. And what it would mean to film the death of his friend, in the case that Alex didn't make it.
Editing is about decision-making, and both Heavy Metal Parking Lot and Free Solo make interesting choices that inform the overall narratives that both documentaries depict. At the heart of both documentaries is the notion of passion and of what it means to love a thing or an action as opposed to a physical person. They are vastly different, but accomplish their goals in choosing to sequence different events to construct a larger story as opposed to just sticking random images together. The footage in both is thoughtful, allowing the story of their subjects to emerge naturally. For me, this gets at the core of what I want HOUSE to be: a depiction of the excitement of experiencing something that you truly love. And hopefully, through careful and mindful editing, that feeling will emerge.
Posted at 04:23 AM in About Production, At the Movies, CinemAddicts 2018-19, Turn It Up, Vanessa | Permalink | Comments (0)
What Is Editing and How Do You Edit (10 Hours of Footage Edition) (Vanessa)
In my last post, I talked a lot about the difference between process and processing as it relates to editing. This week, I would like to circle back to that, but now with a focus on process and what editing is.
One of the earliest things I remember learning as a film major was about Sergei Eisenstein and the development of Soviet montage theory. Montage refers to the process of film editing in which a series of shots are edited into a sequence. Montage theory goes on to develop the idea that connecting a series of images has the power to convey different thematic and emotional messages about what an audience is seeing on screen depending on how the editor chooses to sequence them. The common example is that if you cut from an actors face to an image of a bowl of soup, the audience will perceive hunger as the emotion the sequence is trying convey. Which differs from if you cut from an actors face to an image of a woman lying down in a nightgown, conveying a different emotion or concept, such as lust.
What I find so fascinating about editing is just how underappreciated it is, yet how integral it is to how people understand the "language" of movies. Taking a film class was the first time that I really thought about the fact that movies are sculpted in every sense of the word: from how they are created on paper through screenwriting, to the choices made by the director and cast, to how a cinematographer decides to shoot a certain scene, to the decisions made by an editor when piecing everything together to form a movie.
Editing a documentary web series has challenged my own understanding and appreciation for editors because of how the process of building the story really comes from fragments of unscripted material. For HOUSE this is fun (and a bit daunting, if you couldn't tell from my previous post) because there is a lot to work with. There are different ways to tell the story I want to tell from the footage I have in part because there IS so much footage to begin with. It's exciting to come across a certain moment in an interview and think "this would be GREAT coupled alongside this other interview!" It's similar to the feeling of putting together a large puzzle and the exhilaration of when you start to figure out which pieces go where. You have the side pieces and the corner pieces together (or in my case, interviews that you know can be used to frame the larger story you want the final product to convey) and then from there, it's a long series of trying to push pieces into certain spots and figuring out what does and does not work.
Transcribing my interviews was akin to flipping all the pieces over to the correct side. It's still a mess to look at, but at least you sort of have a sense of knowing what you are looking at.
Examples from my transcript and transcript "code" of how I categorized parts of interviews
The next part for me was figuring out how to organize the pieces into categories to make the "pushing pieces into certain spots and figuring out what does and does not work part" a little bit easier. I broke my footage into separate sequences in Premiere categorized by what "type" of footage it was and what type of content was within the footage. For the Chicago episode, were people talking about their memories of growing up and listening to house music? Or were they describing the feeling of house music in a certain part of the interview, but not in others? Was one clip particularly rich in footage that could be used as b-roll? Or sometimes, was the footage even usable at all?
The process of documentary filmmaking for me has been so much about asking questions and seeing how people respond to them. And the editing portion of the project has been no different. Another great advantage I have found in transcribing all of my interviews has been that it has allowed me to see what questions I can group together while editing different interviews together. I've done more work as a videographer prior to really trying to stick my hands in documentary and narrative filmmaking, which has benefited me as an editor in the sense that one thing I tried to keep in mind while Giovanna and I shot footage was how to incorporate a doctrine of "shoot for the edit" in the midst of shooting for the answers to questions I was asking of interviewees.
Shooting for the edit more or less means keeping in mind that at the end of the day, no matter how great something looks, you still have to give your editor material to work with that can allow your footage to connect seamlessly. In short, it means getting a lot of coverage on everything. It's one thing to have a shot of someone on the phone and a shot of them hanging up after their conversation ends. It's another thing to have a shot of a phone sitting on a table, getting the sound of the phone ringing, in addition to having shots of the person on the phone and the person hanging up. It gives you more room to work with in terms of transitioning from one shot with no phone at all to another shot entirely about a conversation on a phone, and it makes a world of a difference to edit.
HOUSE, as I've stated before, has been a great learning experience. Are there moments where I wish I had more coverage of an object or of a person? Most definitely. But there are also moments in watching the footage where I can see my own growth; in the way I ask questions, the type of questions I ask, and in the understanding between Giovanna and me about what we needed to capture. The later material is more manageable than the earlier material. It is rewarding to see my own development from the first day of the shoot to the last.
Last semester I thought I could just jump in with editing by simply looking through my footage and working from there. This semester has been a lot about organizing and making my footage "readable" for myself as an editor. In addition to understanding how editing works for documentary versus how it works for narrative. I'm still moving along, but I think the difference is that now, I have a sense of where I want to go, in part because I'm getting better at understanding how to piece my footage together and because I have worked at figuring out how to read my own handwriting, or in the case of HOUSE, reading my own footage and piecing together the questions I asked in interviews to formulate answers about house music and the house music community.
Posted at 10:52 PM in About Production, CinemAddicts 2018-19, Growing Pains, Turn It Up, Vanessa | Permalink | Comments (0)
On Baking and Documentary Editing: A Lot of Dough (Vanessa)
In trying to prepare for this post, I looked up quotes from two editors who have produced numerous works I admire: Dede Allen (who edited Bonnie and Clyde, Dog Day Afternoon, The Breakfast Club, The Wiz, and more) and Thelma Schoonmaker (frequent collaborator with Martin Scorsese and known for her work on movies such as Raging Bull, Goodfellas and The King of Comedy). I came across two quotes from Thelma that I found particularly relevant in describing my own path while editing HOUSE and that I think are useful for understanding the two parts of this post: processing and process.
First, processing:
"It's hard for people to understand editing, I think. It's absolutely like sculpture. You get a big lump of clay and you have to form it – this raw, unedited, very long footage."
The first few times I started truly analyzing the footage from Chicago, Detroit, and Baltimore, I was both amazed and overwhelmed. From Chicago alone, there is nearly five hours worth of footage. From Detroit, around two hours. And from Baltimore, an hour.
This, in many ways, is great. The interviews are fantastic, the footage looks great, the sound came out better than expected (especially in Chicago, given that we shot at what was essentially a picnic/family reunion/music festival), and overall, I like to think that the content of the interviews is insightful both about house music as a genre and as a community.
The flipside, however, is that I immediately realized that no matter how much great footage there is, I am aiming for three episodes (one for each city) lasting 5 to 7 minutes in length. The only analogy I can really think of to accurately illustrate how daunting doing so can be is inspired by the above quote, but applied to making a bunch of dough for bread. Imagine you prepare 100 pounds of dough for your favorite type of bread. This is your first time making this type of bread by scratch. You planned what you wanted to make, maybe even craved this one type of bread for a few months, got together a grocery list to make sure you had everything you needed, kneaded the dough for hours until your arms got sore, realized maybe you didn't put in as much of one ingredient as you did another (or thought you put in too much of one ingredient versus another), finally got the dough to come out (maybe a bit lumpy in some parts, but salvageable), and then you realize…your oven does not fit all 100 pounds of dough. It doesn't even fit 10 pounds of dough. Maybe, it fits five.
If you're like me, you still like that you have a lot of bread dough. You are a little bit sad you cannot use all the dough at once but you can use different parts of the dough to make another loaf if the first one does not quite turn out as expected. However, you are now a little bit anxious about which bits of the dough to use to make the best possible loaf of (hopefully) delicious bread once the dough is cooked.
My first few attempts at trying to figure out what would make the best "loaf" were absolutely horrendous. Frankly, I was too attached to everything which made me fear that every single piece of footage that I thought would work in one place could easily be replaced with something better. I was frustrated with myself and with the feeling of uncertainty I got every time I even looked at the footage.
Disclaimer, if you have not already noticed: editing is hard for me. It takes me a while to get into the "flow", so to speak, of what I am actually doing, which is sitting down and trying and retrying things while also keeping in mind a bigger goal of what the end product will look like, who the "characters" are and how to develop them, and also allowing yourself enough room to simply let yourself and your work breathe. And also remembering to trust yourself. I can honestly say that for the first few months of "editing" that I did (which was more or less me opening Premiere, staring at my footage, watching it, trying to write down what threads I could pull from interviews, and getting frustrated that I felt like I didn't know what I was doing and that I didn't even know what I wanted to do in terms of putting everything together) was difficult. I'm someone who studies in one spot for an hour and then has to move to a different room in order to make sure I don't lose focus. And I could barely get myself to look at one minute portions of a larger, several hour project without worrying about all 100 pounds of "dough" instead of maybe an ounce.
But again, HOUSE has been and continues to be a learning process for me. Which is where the second quote comes in and how I started to understand process being just as crucial as processing:
"Editing is a lot about patience and discipline and just banging away at something, turning off the machine and going home at night because you're frustrated and depressed, and then coming back in the morning to try again."
I did not figure this out very quickly. But when I did, it helped me to understand that editing is as much about the process of editing as it is about processing what you are editing. And I only really figured this out once I stepped back for a moment from what I was doing and came up with a new way to work through editing as a process, in a way that would work for me without sacrificing the larger vision of HOUSE.
More or less, I worked through my footage as a writer, something I am more familiar with. I carefully transcribed every interview, making note of what was and was not working for me in a given interview and what information was gained from different interviews that could benefit the themes I think the footage as whole conveys. While also keeping in mind that HOUSE isn't just a project that I want to convey my own feelings about a genre, but the feelings of a community about something that many folks think brings people together.
Forty-five pages of interviews for one city later, I felt relieved. I could physically see what I was doing and understand what things helped this story and what things did not. And so, I started to get to work editing and breathing again. The first lump of dough wasn't ready for the oven, but at least I wasn't just staring at it sitting on the counter-top anymore.
Posted at 01:51 AM in About Production, CinemAddicts 2018-19, Some Aspect of Reality, Vanessa | Permalink | Comments (0)
Lights, Camera, Logistics (Vanessa)
Filmmaking (or documentary web series-making in the case of HOUSE) is a lot about looking for answers. How do you get from point A to point B with all the equipment? Who do you cast? Who will be part of the crew?
As the reality for creating a documentary web series shot in three different cities set in, some of those answers became relatively simple. "However you can (within the means of the budget)" and "whoever is willing to do so" quickly became the answers to a lot of questions starting with "how" and "who".
The Chicago and Detroit episodes of HOUSE were shot over the course of six days: four days in Chicago, two days in Detroit. The crew (for these two episodes) consisted of the following: me, my friend and fellow film major Giovanna (HOUSE's fantastic cinematographer), my brother, my dad, and my mom. My dad and brother accompanied Giovanna and me to Chicago and my mom and brother accompanied us to Detroit. So, for the summer at least, the crew was truly "whoever is willing to do so".
Figuring out who was going to do what roles was an adventure in and of itself. Giovanna graciously volunteered to be director of photography, which was fantastic. I told myself I could direct, produce, and do sound mixing, which by some miracle sort of worked out, at least for a few days. In short, having an actual (and excellent!) crew in Baltimore gave me a completely new sense of appreciation for actually having enough people to do everything—that way you can avoid simultaneously asking interviewees questions, mixing sound, holding a boom pole, nervously watching the battery levels on the sound recording device die, communicating with your DP, and telling the part of your brain that keeps asking "WHAT ARE YOU EVEN DOING?" to quiet down all at the same time.
My brother helping me with the slate.
Casting was also an adventure, seeing as I had no idea how casting for a documentary worked prior to starting to work on HOUSE. The same "whoever is willing to do so" philosophy applied: phone calls, emails, and Facebook messages were sent to friends, family friends, friends of family friends, and friends of friends of family friends. Thus, the cast (aside from the tons of friendly strangers willing to talk to Giovanna and me at the Chosen Few Picnic) was created. Honestly, one of my favorite things about HOUSE and about all of the experiences I have had with filmmaking, and especially documentary filmmaking is all the kind strangers you meet along the way.
Somehow, it all worked out. And looking back, I couldn't be prouder (and slightly in awe) that it did. Pre-production was, without a doubt, hard. I know I must have given the production chair for Studio North (JHU's student run production company from which I received the grant to make HOUSE) at least one near heart-attack when we we're working through how we were going to stretch the budget enough to get through all three cities.
Car travel between cities: 2,540 miles. Not including driving within/around the cities and Giovanna's flight to Chicago, which was about another 790 miles.
As you can probably tell, shooting the Baltimore episode in the fall was a completely different game altogether: substantially less driving (all of the equipment for Chicago and Detroit came from Baltimore because that's where the JHU-MICA Film Center is located, which provides access to equipment rentals for JHU students), larger crew (shout out once again!), and cooler temperatures. Overall, still a great time with great people.
In short: the logistics of HOUSE felt a little on the wild side at times, but I couldn't be happier with the experience. One of my favorite things about HOUSE is that it has been such a learning experience from the very beginning, and getting to see how it all has started to come together throughout post-production (post about post coming soon!) is ridiculously exciting.
Some more house music until the next post:
Like This, Chip E. Feat. K. Joy
You Make Me Feel (Mighty Real), Byron Stingily
Deep Inside, Hardrive
Posted at 03:47 AM in About Production, All in the Family, CinemAddicts 2018-19, Turn It Up, Vanessa | Permalink | Comments (0)
What is HOUSE (and house music)? (Vanessa)
This web series would not be possible without my parents, who have always raised me and my siblings to love and respect music both as solace and as art.
My dad is a Navy man, which resulted in me living in eight states and attending a combined total of seven elementary, middle, and high schools before I attended college. The things that were stable in my childhood as a result: family road trips and discussions about music, a deep love for my parents and siblings, and a fascination with how people interact with the world around them.
HOUSE, in particular, comes from the stories of my dad. My parents attended undergrad and met at the University of Illinois at Chicago during the late 80s and early 90s. The Chicago house music scene has its roots in the early and mid-80s as radio personalities and club DJs mixed elements of disco, electro-pop, synthesizers and drum machines (such as the Roland TR-808, the Korg Poly-61 synthesizer, and the Roland TB-303 bass synthesizer) and eventually hip-hop to create new sounds that were danceable and innovative. Thus, came the emergence of house music. By the time my parents would arrive in Chicago, house music had expanded to an international audience, included several sub-genres, and became a unique community with a plethora of stories about who exactly made up various house music scenes.
Never one to shy from a good story, my dad would both play house music and tell me stories of what it was like to witness the house scene as a young person living in Chicago during the late-80s. And from that, the inspiration for HOUSE was born as I wondered "what must it have been like to be immersed in something that sounds so vibrant?" and "what must have it felt like to create something like house music?"
If you are a beginner to the world of house music or even to the realm of film production (especially documentary film production), there are three things that I think are important to know for a better grasp on both of these worlds: (1) house music and film production are all about community and being supported by a community, (2) house music and film production are all about passion (for others, music, movies, art, etc.), and (3) house music and film production are all about expression.
Film and house music are both blends of other mediums from which a certain "language" has emerged. At least in my experience, the language of video media (film especially) and of house music is reliant on emotion and experience. With this in mind, I like to think that a documentary web-series about house music, and documentary storytelling of all kinds, is some sort of weird blend of the subjective and objective. You capture someone's truth while acknowledging that yes, "truth" itself is sometimes informed by emotion, experience, and expression. What is a good story, really, aside from someone communicating what it means to embody an identity, be part of a community, or simply exist as someone experiencing the strangeness that is life?
HOUSE at its simplest, is a story of community and connection within the house music fan bases in Chicago, Detroit, and Baltimore, told through the voices of fans and creators alike. It goes through all three cities and features interviews with those who consider themselves "house heads" or part of the house music community. HOUSE explores how a genre of music can be a sound and a feeling.
Just as importantly, HOUSE's production is also a story of community and connection between people who love storytelling. Those people have ranged from my dad and my professors who have supported me and helped me create this project (shout outs especially to Meredith Ward, Matt Porterfield, and Lawrence Jackson!!!) to my friends and fellow students who have been a part of the production team, individuals who have been interviewed (and people who have offered tremendous amounts of help in pursuing people to interview), and everyone else who got roped into this ride. One of my friends (another film major) and I constantly joke about how any sort of film/tv/web-series/visual media effort is really just a massive group project. BECAUSE IT IS! And hopefully, to anyone reading this, you'll get to see that through this blog!
Picture from Chosen Few Picnic and Festival, July 2018 (where we shot part of the Chicago episode!)
Next time: "Casting" a Documentary, Producing and Logistics, and Directing
Until then, some house music:
In The Beginning (There Was Jack)
Hot Stuff (Ralphi Rosario And Erick Ibiza 2018 Rework)
Posted at 05:25 PM in About Production, All in the Family, CinemAddicts 2018-19, On Genre, Some Aspect of Reality, Story Story Story, Turn It Up, Vanessa | Permalink | Comments (0)


TULSA, Okla. – Tulsa Public Schools pre-kindergarten enrollment for the 2018-2019 school year will open on Monday, Feb. 5, 2018 at 8 a.m. Parents and guardians of children who will be four years old on or before Sept. 1, 2018 are encouraged to enroll online at www.tulsaschools.org/enroll or in person at the district's Enrollment Center at 2819 S. New Haven Ave. in Tulsa. All district pre-kindergarten programs are free and full-day.
The short- and long-term benefits of starting school in pre-kindergarten are well documented and include significant academic gains in math, literacy, and applied problem-solving, as well as an increased likelihood of earning a high school diploma.
Parents and guardians can enroll online at enroll.tulsaschools.org or by visiting the district's Enrollment Center at 2819 S. New Haven Ave. in Tulsa. The Enrollment Center is open on weekdays from 8 a.m. until 4 p.m., except for school holidays. Families are also invited to attend any of the district's pre-kindergarten open houses to learn more about the program. Open house information is available at www.tulsaschools.org/enroll under the "pre-kindergarten" tab.
To complete enrollment, parents and guardians will need a government-issued photo ID, the child's birth certificate and immunization records, and proof of residence – such as a utility bill or rental agreement. These documents can be attached to the online enrollment application using a scanner or by uploading a picture from a smart phone. Parents who plan to enroll at the Enrollment Center should bring these documents.
Pre-kindergarten enrollment for the 2018-2019 school year opens on Monday, Feb. 5 at 8 a.m. The Oklahoma Caring Van will provide free immunizations for incoming students on Monday, Feb. 5 and Tuesday, Feb. 6.
For more information, contact the Enrollment Center at 918-746-7500 or visit www.tulsaschools.org/enroll. Enrollment information is available in Spanish at www.tulsaschools.org/enroll_Spanish.


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Home » Teams » Flyers » Gushing Over The Flyers: A 24/7 Recap Wrapped Around a Love Letter From Bones
Gushing Over The Flyers: A 24/7 Recap Wrapped Around a Love Letter From Bones
By Kyle Scott
The Flyers are winning this city over.
Sure, they were never not popular. But as recently as 2009, the Flyers were looked on as being closer to the Sixers in terms of popularity than they were to the surging Phillies, who were (and still are) the toast of the town. There will be folks – mostly the Hardcore (capital H, if I can douchily borrow a line from Charlie Sheen) – who disagree with that assertion and claim that the Flyers have always been on the level with the Phillies and Eagles. And while that sentiment may ring true for many brief stints over the last 40 or so years, the fact remains that from the mid-2000s until the spring of 2010, the Flyers had been pushed closer to the backs of people's minds than the fronts (-ducks!-)*.
*Blame the lockout, staleness, the Eagles' and Phillies' success– whatever. It's true.
At some point (I believe it was right around Simon Gagne's go-ahead goal in Game 7 of the 2010 Eastern Conference Semifinals), that all changed. A Stanley Cup run, a very successful regular season, a modicum of sameness with the Phillies, and the offseason hysteria generated by trading Mike Richards and Jeff Carter and signing of Ilya Bryzgalov all helped push the Flyers to the forefront, especially with the Phillies frustratingly pissing away their 102-win season and the Eagles being nothing more than the NFL equivalent of a knock-knock joke (sometimes worth a laugh, but mostly just pathetic).
Now we have the Winter Classic, 24/7 and the emergence of Claude Giroux – wooer of all beings, both male and female – as the best hockey player in the world(?). Those things have brought the Flyers back to elite status in Philadelphia– right now, at least until the spring, they're the number one team in a city that mostly hates its football team. We're talking about hockey two days before a meaningful Eagles-Cowboys game on Christmas Eve!
So now, we get to experience the sort of lust we felt towards the Phillies in 2008 and 2009 with the Flyers– Everything Bryz says is funny, people are sending me screen caps of Jaromir Jagr hugging Giroux, Jagr wearing a cop hat…
… Lavs has been called everything from pimp to gangsta to boss, and I received this Tweet:
@CrossingBroad After seeing 24/7 I think Lavs has the weight advantage.Is it a coincidence that Giroux and God start with the same letter?
— James nowrey (@JIMinAC) December 22, 2011
We're in love… and it's all being fueled by the unprecedented access given to HBO. Seriously, this might be the greatest marketing coup ever for the Flyers, and they don't even have to do anything other than be themselves. And win. Winning is good.
We'll get to some additional 24/7 stuff in a second (beyond what we posted here and here), but let's address this:
Hollywood stars are penning love letters to the Flyers which are being ran in Entertainment Weekly.
What sort of awesomely bizarro world is this?!
Today, Entertainment Weekly ran an excerpt of an article David Boreanaz – a fellow Malvern Prep grad, I might add – penned for the Winter Classic program. Read some of this: [full excerpt on Entertainment Weekly]
There's no team that so completely reflects its city the way the Flyers do. Philadelphia is a blue collar, hard-working city with a flair for excitement. Sure, it can be a little rough and tumble on the outside, but on the inside it's just about love for the game. All games. It's just a great sports town. The fans treat the players like they're family. So when guys like Clarke and Barber gave way to the Legion of Doom and on up to the skilled players we have today like Claude Giroux and James van Reimsdyk, the fans never let go of that old Broad Street Bullies legend. When you play for Philadelphia, it's not about the name on the back, it's about the crest on the front. You play your heart out for the organization and no matter what happens with trades or whatever, you are a Philadelphia Flyer. You embrace it.
Over the years, I saw some games I will never, ever forget. I was there when Bill Barber got his 1,000th point and all the pamphlets fell from the Spectrum ceiling. I think I still have one of them in a box somewhere. Or Game 6 of the 2004 Playoffs against Tampa Bay, when Keith Primeau scored that crazy wraparound goal and the Wachovia Center collectively went nuts. I remember getting to go down to the locker room and talking to Jeremy Roenick after that game and seeing him with this huge ice pack on his shoulder and knowing there was no way they were going to win Game 7 — they were beat — but that comeback in Game 6 was unforgettable.
Well… he made himself sound like a normal fan up until that part about going into the locker room… but you get the point– he's gushing, gushing over the Flyers. He's legit, too, both in Hollywood and in his Philly fandom. Cool stuff, no other way to describe it.
Now, let's talk about some other moments from 24/7.
Lavs is coming across so goddamn well in that show. By far, the facet I was most looking forward to was seeing Lavs uncut. We see his tirades on the bench, the gum removal, the fist pounding and his forceful demeanor in press conferences, but we all wanted to know what he was really like.
He's perfect (in the role of hockey coach, of course).
He's serious and stern, but his speeches to the team, at least so far, hardly show him losing control, which is something that we certainly saw from Bruce Boudreau last year and see John Tortorella approaching this year.
Lavs' speech to the team after getting waxed by the Bruins was the complete opposite of what most of us expected. Rick Pitino once said (yeah, I hate myself for that– but this is good) that when things are going well, you go hard on your team… but when they're going badly, you take it easy, because kicking a team while they're down is a sure-fire way to lose them. Lavs subscribed to that philosophy after the Bruins game. He didn't scream and yell… rather, while you could tell he was upset, he addressed the team thusly:
"From the time the puck dropped until we got back here right now, we didn't do much right today. In saying that, let it burn a little bit, keep it inside of you, let it burn and then take it with us on the road. Keep your heads up and then stay positive, because for 10 games now, we've been doing the right things. It did not go our way today. Pretty simple. So leave it. But let it burn, take it into the next game, fix it, get it straight and move on. Alright?"
Alright, Peter.
Incredibly – surprisingly – his voice changes when he's in Boss mode (capital B, yo). Instead of the usual unique, precise statements crawling out from under his pursed lips, Lavs takes on the voice of an action flick commando when he addresses the team. It's like his speeches are being read from a Hollywood script. Somewhere, Gordon Bombay and Kurt Russell's Herb Brooks are huddled under an arena fapping away at the vocalized stylings of Flyers head coach Peter Laviolette.
And his whole philosophy about there being "two points on the line"? It's so simple and elegant that even a dead Steve Jobs would take pause at its Zen-like quality. Peter Laviolette: the coaching equivalent of an iPhone.
There was more, too:
"Hartsy– 200, eh? Congrats. That's 200 more than me… Twelve games, no points"… His use of "frickin" to censor himself in front of the refs… and the fan-like quality he displayed in believing there was a Montreal bias. All perfect.
We're so enamored with this whole thing that it's taken my about 2,000 words to get to this quote from Zac Rinaldo* about Jagr:
"He was on the Sega Genesis. Sega Genesis– I used to play that game religiously. And I used to… I never used to be Jags, I didn't like that type of player, but I used to play against Jags in the Sega. I was Eric Lindros."
*Is there any doubt that Rinaldo, seen here in a club suite with Jeff Carter and a porn star, and Harry Scrabble are absolutely slaying right now? Like, any doubt? At all? I'm applauding their efforts I don't even know about. Well done, guys. Well done!
This whole Winter Classic-24/7 experience, from a fan's perspective, has been fascinating thus far. And as we conclude this love affair – for now – we'll leave you with this, courtesy of reader (@ACiaccia):
Merry Christmas, Flyers fans.
24/7, flyers, hbo, laviolette, peter
Kyle Scott
Kyle Scott is the founder and editor of CrossingBroad.com. He has written for CBS Philly and Philly Voice, and been a panelist or contributor on NBC Sports Philly, FOX 29 and SNY TV, as well as a recurring guest on 97.5 The Fanatic, 94 WIP, 106.7 The Fan and other stations. He has more than 10 years experience running digital media properties and in online advertising and marketing.
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Lt says:
BAM! You're pregnant.
Claude G.
Love the pic of Bryz!
Mmuoio says:
In regards to the Flyers not being as popular, I have a rebuttal. I know it's probably not a great way to judge fandom, but I see just as many Flyers license plate covers and window stickers as I do Eagles/Phillies (and practically no Sixers). So for what it's worth, they're definitely gaining momentum in the city.
Schtick Coma says:
Hockey may be more popular in Philly than most places, but it is nowhere close to football or baseball. When I was growing up in South Jersey, I thought the Flyers were as big as the Phillies (that was when the Phils were awful and the Flyers had Lindros). I moved to the PA suburbs and nobody cared about hockey. It's a South Jersey/white male thing. I work in NYC now. Nobody cares about hockey up here. To compare the popularity of the Eagles to that of the Flyers is a joke (I'm a bigger hockey fan than football fan, myself). Hockey has a fervent base of supporters, but it's a niche sport.
Cooter says:
i immediately thought of that when Bryz started going on his tanget about getting another job and transfering people to other departments. i liked when everyone was shunning him at breakfast
I told you so says:
You missed where Carle was talking to G about the Flavor of the Month ( G starts smirking until he realizes that Carle is talking about the concussions no the puck bunnies)
not*
Candy from the Oakford Inn says:
lavy looks like he enjoys cold beer
Why isn't his last name Roberts?
@Jeff his dad uses the stage name Dave Roberts
Chris Langille says:
Seeing this behind the scenes look at Lavy makes me wonder,… does Andy Reid actually have some personality? I'd love to see him in a more candid light. Maybe people wouldn't hate him as much? Maybe they would hate him even more?
USSR so good to me says:
@ACiaccia stole my idea from the comment section of the Husky post!
I had no idea before this season that jagr is so god damn likeable. Man crush in full effect.
he lost me with the roenick worship, up until then we were good.
flyersgirl38 says:
@I told you so – My friends and I immediately watched the "flavor of the month" conversation again and were in hysterics watching the look on Giroux's face. He definitely did not think Carle was going with concussions!
Priceless.
Flyguy says:
Kyle, your assessment of the Flyers/hockey/Philly sports teams is spot on. Well done, sir. I tip my Mad Elf in your direction. Now we just need the idiots at WIP to wise up and show the proper respect and air time to this team instead of toasting the Sixers for preseason victories. Its insulting and pathetic.
Boom says:
@USSR na i didnt i asked for a screen cap in the second comment of that husky thread, i did see u said that before i had time to post on twitter this morning…great minds think alike bro
I play xbox with The dude that made the bryz pick!!!!!!!!!!!!!!!!
DJ Tonka says:
that helmet is phat